DOCSLIB.ORG

Making Beads

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Making Beads Beatrix Alfray 2016 What is “Lampworking?” The term Lampwork comes from the technique of working glass over a flame, or lamp. Making glass beads wound on a mandrel is an ancient process. Glass beads can be found in virtually all cultures and times. Making Beads Safety! Safety! Safety! Working with glass can be hazardous to your health; taking precautions can make it less so. It is pretty much guaranteed that you WILL burn yourself and cut yourself if you make beads for any length of time, following basic safety guidelines may mean the difference between a small burn ord cut, an a trip to the emergency room. Glass rods can have very sharp pieces that stick off the end; they can also break as you work with them. Thinner rods and twisted stringer are notorious for this. I have seen people sliced by rod edges, or by pieces of glass that pop off and land on the bench. Burns are far more common. Being aware of what you are doing and where you put things is strongly advised. ALWAYS put your hot glass rods on the rod rest, with the hot end resting on it. I keep all the hot tools and glass in one place and cool items in another. Don’t reach across your flame. Try to put what you need on your dominant hand side. Sounds basic, and it is. Most glass handling, hot or cold, is just using common sense. Soft glass, which is what we are using, starts melting at around 1283 degrees (F, not that freaky C) and we work it at about 1700 degrees. At that temperature, you burn VERY quick at contact. The flame of a Hot Head torch flame using MAPP Pro burns at about 2680 degrees and your flesh smells and tastes like pork cracklins when you accidentally put your hand in the flame. Thermal Shock is what happens when glass expands/contracts too quickly, basically it explodes. It is very important to introduce the glass to the flame slowly and pointing the rod away from yourself. This will help most of the glass shoot away, instead of at, you. Be sure that when you work on glass that you dress appropriately. Natural fibers are your friend! Don’t wear polyester; it will melt directly to your skin. Ask me how I know! Wear shirts with necks that will help stop glass from going rdown you shirt, and sleeves that won’t catch exploding glass, or on to things on your work desk. Try to prepare the area you are going to be working on for extremely hot items. You may not want to work on Aunt Mabel’s antique table sitting on her Persian rug or Vinyl flooring. Rods that are still hot can roll off glass racks, or be dropped. Thermal shocked glass can fly an impressive distance and at a temperature that can cause combustion of wood, fabric or solvents. Having a flame resistant surface, such as cheap ceramic tiles can help reduce damage to table tops. Plastic and even some wood tables release toxic fumes when melted or burned. One other thing to consider, if you are making beads in your house, your homeowner’s or renter’s insurance probably will not cover you if there is a fire, injury or other damages related to this activity. In fact many insurance companies will cancel your policy if you are found to have this in your home. Beatrix Alfray 2016 ALWAYS have a fire extinguisher close at hand. Be sure to have them inspected at regular intervals. Having one that doesn’t work when needed is dumb. Set up your work space in a way that you do not put the flame between you and the exit. Things can go bad very quickly and you need to be able to get away and out. Have an exit strategy! Eye Protection is VITAL. Shards of glass in your eye are bad. HOT shards in of glass in your eye are worse. You can have glass fly at you from thermal shock or by it being on your fingers and wiped into your eyes. There is also Soda Flare to be aware of. Soda Flare is caused when the soda in Soda Lime glass is melted. To the naked eye it is a brighter orange “flare” Over time, this flare can cause eye damage. This process is accelerated when you use a hotter torch or borosilicate glass. Wearing your own prescription is “OK” but not ideal. Ideally you want to wear properly “shaded” glass. For working soft glass, you should use Polycarbonate Sodium Flare glasses, or Didymium glasses. Ventilation!! (Silicosis is a form of lung disease caused by inhalation of crystalline silica dust, and is marked by inflammation and scarring in the form of nodular lesions in the upper lobes of the lungs. It is a type of pneumoconiosis. Because chronic silicosis is slow to develop, signs and symptoms may not appear until years after exposure) From Wikipedia. It is a serious issue for glass workers because there are so many sources of silica in what we do. There is glass dust from the rods we handle, there is silica in almost all of the bead release, there is silica in the fiber blankets and cooling bubbles. There is silica dust in the frit, and lead and other toxic chemicals too! The different additives that make glass all the pretty colors can also release fumes that are not good for you to breath in. You need to be absolutely sure you have adequate ventilation to ensure that you lessen your exposure as much as possible. When you set up your workstation, test the ventilation using smoke bombs or multiple sticks of incense. Not only do you need to be sure that there is something to help the fumes escape, but also that there is enough air coming in to replace what is being pulled out. It is important to know that the Mapp pro, or propane fumes both are heavier than air and will settle around the floor. Beatrix Alfray 2016 GLASS, Finally! Now that I have beaten you about the head and shoulders with the safety stuff, let’s have fun! We are going to start by making Stringer. It is something you need to learn and will help you start understanding how hot glass moves, how to read the heat in glass and how to be patient. Stringer is exactly what it sounds like, strings of glass. You will be using these strings later, so make nice ones. =) Twisties are next. We are going to make stringers of twisted glass. You can make them with as many colors as you want! There are many different types of glass, and they all have their unique working properties. We will be using what is called “soft” glass. It is made using pure silica sand, lime and soda ash. It has a COE or coefficient of expansion, of 104. When you are making glass beads it is important to make sure your glass is of the same COE. If it isn’t, the bead will crack and break due to the different cooling speed of the glasses. There is a pretty simple test you can use to determine if two glasses are compatible. The largest makers of soft glass are Effetre (Moretti), made in Murano, Italy, Creation is Messy (CiM) which is made in China, Lauscha, which is made in Germany and Devardi, which is made in India. As a beginner, I would avoid Devardi glass. It is usually very “shocky” which means it is prone to Thermal Shock. Making a Bead Ha‐ha! I tricked you! Let’s learn the things we need to make a bead! Torch: we are using a “Hot Head like torch” Mandrels: The little metal sticks in the bucket of sand. We are going to wrap glass around these to make beads. Release: Is a clay slip that is on the end of the mandrel. This will allow you remove the bead from the mandrel once it has cooled. Water: a cup of water to cool your tools in, and for killing failed beads. Cooling Beads, Fiber blanket, kiln: Something to cool dyour bea down very slowly. Glass can thermal shock on the way down too. It isn’t as explosive, but it is a sad moment. The only way to guarantee that a bead won’t thermal shock is to anneal it in a kiln. This eliminates the stress on the crystalline matrix of the glass that occurs by melting and shaping the glass. To anneal a bead, you hold it at a temperature specific to the COE of the glass and then cool it very, very slowly. It is considered bad business practice to sell beads that have not been annealed. The ancient bead makers annealed their beads in the furnace that they used to make them. Beatrix Alfray 2016 To make a bead is a simple thing, to make it WELL takes practice. Glass wants to be a sphere. It’s like water that way. Let it do the work for you, be patient. Use the properties of the molten glass and gravity do a lot of the work. Heat the rood of glass and let it form a sphere of melted glass at the end. That sphere is called a “Gather” You can make a small gather to make a small bead or a larger gather to make a larger bead. Letting that gather build saves your bead release ((which can crack or flake off and ruin your bead) and helps you start your bead with a decent shape already there.
Load more

Recommended publications
  • Ghana's Glass Beadmaking Arts in Transcultural Dialogues
    Ghana’s Glass Beadmaking Arts in Transcultural Dialogues Suzanne Gott PHOTOS BY THE AUTHOR EXCEPT WHERE OTHERWISE NOTED hanaian powder-glass beads first captured spread of West African strip-weaving technologies. my attention in 1990, when closely examin- With the beginnings of European maritime trade in the late ing a strand of Asante waist beads purchased fifteenth century, an increasing volume of glass beads and glass in Kumasi’s Central Market. Looking at the goods were shipped to trade centers along present-day Ghana’s complex designs of different colored glasses, Gold Coast,1 stimulating the growth of local beadworking and I was struck with the realization that each powder-glass beadmaking industries. The flourishing coastal bead had been skillfully and painstakingly crafted. This seem- trade achieved a more direct engagement between European Gingly humble and largely unexamined art merited closer study merchants and trading communities than had been possible and greater understanding (Fig. 1). I worked with Christa Clarke, with the trans-Saharan trade, and enhanced European abilities Senior Curator for the Arts of Global Africa at the Newark to ascertain and respond to local West African consumer pref- Museum, to develop the 2008–2010 exhibition “Glass Beads of erences. This interactive trade environment also facilitated the Ghana” at the Newark Museum to introduce the general public impact of the demands of Gold Coast consumers on European to this largely overlooked art (Fig. 2). The following study pro- product design and production, a two-way dynamic similar to vides a more in-depth examination of Ghanaian glass beadmak- the trade in African-print textiles (Nielsen 1979; Steiner 1985).
    [Show full text]
  • Bohemian Faceted-Spheroidal Mold-Pressed Glass Bead Attributes: Hypothesized Terminus Post Quem Dates for the 19Th Century
    BEADS: Journal of the Society of Bead Researchers Volume 15 Volume 15 (2003) Article 6 1-1-2003 Bohemian Faceted-Spheroidal Mold-Pressed Glass Bead Attributes: Hypothesized Terminus Post Quem Dates for the 19th Century Lester A. Ross Follow this and additional works at: https://surface.syr.edu/beads Part of the Archaeological Anthropology Commons, History of Art, Architecture, and Archaeology Commons, Science and Technology Studies Commons, and the Social and Cultural Anthropology Commons Repository Citation Ross, Lester A. (2003). "Bohemian Faceted-Spheroidal Mold-Pressed Glass Bead Attributes: Hypothesized Terminus Post Quem Dates for the 19th Century." BEADS: Journal of the Society of Bead Researchers 15: 41-52. Available at: https://surface.syr.edu/beads/vol15/iss1/6 This Article is brought to you for free and open access by SURFACE. It has been accepted for inclusion in BEADS: Journal of the Society of Bead Researchers by an authorized editor of SURFACE. For more information, please contact [email protected]. BOHEMIAN FACETED-SPHEROIDAL MOLD-PRESSED GLASS BEAD ATTRIBUTES: HYPOTHESIZED TERMINUS POST QUEM DATES FOR THE 19TH CENTURY Lester A. Ross Faceted-spheroidal mold-pressed beads have been manufactured Glass bead varieties and their attributes occasionally in Bohemia since the 18th century. Evolution of manufacturing have proven to be reliable as sensitive temporal markers technology has resulted in the creation of bead attributes that (e.g., Karklins 1993; Sprague 1983, 1985). Well-dated can readily be observed on beads from archaeological contexts. archaeological contexts containing faceted-spheroidal mold­ Many North American archaeological sites contain examples of pressed beads appear to be restricted to the second through this bead type; but few reports have identified the attributes, much fourth quarters of the 19th century.
    [Show full text]
  • Fiscal Year 2007 Annual Report (PDF)
    Penland School of Crafts Annual Report Fiscal Year 2006 – 2007 Penland’s Mission The mission of Penland School of Crafts is to support individual and artistic growth through craft. The Penland Vision Penland’s programs engage the human spirit which is expressed throughout the world in craft. Penland enriches lives by teaching skills, ideas, and the value of the handmade. Penland welcomes everyone—from vocational and avocational craft practitioners to interested visitors. Penland is a stimulating, transformative, egalitarian place where people love to work, feel free to experiment, and often exceed their own expectations. Penland’s beautiful location and historic campus inform every aspect of its work. Penland’s Educational Philosophy Penland’s educational philosophy is based on these core ideas: • Total immersion workshop education is a uniquely effective way of learning. • Close interaction with others promotes the exchange of information and ideas between individuals and disciplines. • Generosity enhances education—Penland encourages instructors, students, and staff to freely share their knowledge and experience. • Craft is kept vital by preserving its traditions and constantly expanding its boundaries. Cover Information Front cover: this pot was built by David Steumpfle during his summer workshop. It was glazed and fired by Cynthia Bringle in and sold in the Penland benefit auction for a record price. It is shown in Cynthia’s kiln at her studio at Penland. Inside front cover: chalkboard in the Pines dining room, drawing by instructor Arthur González. Inside back cover: throwing a pot in the clay studio during a workshop taught by Jason Walker. Title page: Instructors Meg Peterson and Mark Angus playing accordion duets during an outdoor Empty Bowls dinner.
    [Show full text]
  • The Bead Forum 73
    Issue 73 Autumn 2018 A Glass-Beadmaking Furnace at Schwarzenberg in the Bohemian Forest, Upper Austria Kinga Tarcsay and Wolfgang Klimesch Translated by Karlis Karklins he village of Schwarzenberg is located in located outside the village, directly in sight of the the so-called Mühlviertel, an area of Up- borders of Bavaria and Bohemia. Over the years, Tper Austria which geologically belongs glass beads have been found repeatedly on the to the Bohemian massif and is thus part of that property south of the estate at Schwarzenberg 93, large cross-border glassworks landscape that in- which led to a one-week archaeological excavation cluded the Bohemian Forest, the Bavarian Forest, carried out in 2017 on the initiative of local histo- the Mühlviertel, and the Waldviertel since the rian Franz Haudum. 14th century. The glassworks site discussed here is Two test units were opened. Unit 1 revealed part of a glass oven which was attached to a massive, roughly cir- cular, boulder over 3 m in diameter (Figure 1). The oven had a round- ed end and the exposed portion was 3.8 m long. The masonry, of which only the lowest layer remained, consist- ed of irregular granite stones laid without mortar. The exterior wall was clearly defined and 0.7 m thick. As for the interior, at the pres- ent state of exposure, no clear distinction could be made between collapsed material and a possible building struc- ture. Nevertheless, a transverse wall running Figure 1. Aerial view of the glass furnace in excavation Unit 1 (7 x 6.5 m) (photo: Sieg- approximately north- fried Hoheneder, Schwarzenberg).
    [Show full text]
  • The Coming Museum of Glass Newglass Review 23
    The Coming Museum of Glass NewGlass Review 23 The Corning Museum of Glass Corning, New York 2002 Objects reproduced in this annual review Objekte, die in dieser jahrlich erscheinenden were chosen with the understanding Zeitschrift veroffentlicht werden, wurden unter that they were designed and made between der Voraussetzung ausgewahlt, dass sie zwi- October 1, 2000, and October 1, 2001. schen dem 1. Oktober 2000 und dem 1. Okto- ber 2001 entworfen und gefertig wurden. For additional copies of New Glass Review, Zusatzliche Exemplare der New Glass please contact: Rew'ewkonnen angefordert werden bei: The Corning Museum of Glass Buying Office One Museum Way Corning, New York 14830-2253 Telephone: (607) 974-6821 Fax: (607) 974-7365 E-mail: [email protected] To Our Readers An unsere Leser Since 1985, New Glass Review has been printed by Seit 1985 wird New Glass Review von der Ritterbach Ritterbach Verlag GmbH in Frechen, Germany. This Verlag GmbH in Frechen, Deutschland, gedruckt. Dieser firm also publishes NEUES GLAS/NEW GLASS, a Verlag veroffentlicht seit 1980 auBerdem NEUES GLAS/ quarterly magazine devoted to contemporary glass- NEW GLASS, eine zweisprachige (deutsch/englisch), making. vierteljahrlich erscheinende Zeitschrift, die iiber zeitge- New Glass Review is published annually as part of the nossische Glaskunst weltweit berichtet. April/June issue of NEUES GLAS/NEW GLASS. It is Die New Glass Review wird jedes Jahr als Teil der Mai- also available as an offprint. Both of these publications, ausgabe von NEUES GLAS/NEW GLASS veroffentlicht. as well as subscriptions to New Glass Review, are avail­ Sie ist aber auch als Sonderdruck erhaltlich.
    [Show full text]
  • Zhou Dynasty Glass and Silicate Jewelry Zhou
    Zhou Dynasty Glass anD silicate Jewelry Robert K. Liu ince I began studying the faience, glass and other piece-mold and core-casting, while the latter employed silicate ornaments of the Zhou Dynasty in 1975, this similarly advanced lapidary technology. Even in the 1970s, S field has undergone a sharp dichotomy. While I realized that these early Chinese glassworkers had adapted previously mostly foreign scientists or Chinese outside of some of these same techniques for fabricating their glass China researched their chemical makeup, age and stylistics, ornaments, as seen in mold-cast, press-molded and lapidary- in the past decades Chinese themselves have begun to finished Zhou and Han glass artifacts. My own research on intensively study their composition, through sophisticated composite beads also implicates the role of early ceramics. non-destructive techniques like XRF and Raman While much information is now available to those spectroscopy, but with little attention to their typology, interested in the fascinating array of silicate ornaments chronology or how they were made or used, despite the from the Zhou Dynasty, it is difficult to apply this data enormous increase in number of excavated sites bearing easily towards their dating/chronology and typology, nor such beads (Gan 2009; Kwan 2001, 2013; Lankton and to realize how deeply glass and other silicate usage Dussubieux 2006, 2013; Li et al., 2015; Liu 1975, 1991, penetrated into Chinese society during these very turbulent 2005, 2013; Yang et al., 2013; Zhu 2013). Now regarded as times of constant warfare and intellectual foment of the important cultural relics, beads of the Zhou/Han times were Zhou/Warring States period, as evident by artifacts shown widely sold since at least the 1990s on the world antiquities on page 57, although glass sword furniture of the Mid-to-Late markets, often sourced by looting, and which are still W.S.
    [Show full text]
  • The Glass Beads Game
    ITALY GHANA - CAMEROON THE GLASS BEADS GAME ©Bruno Zanzottera The Fondamenta dei Vetrai canal in Murano THE ‘GLASS BEADS GAME’ TELLS THE STORY OF THE VENETIANS GLASS BEADS AND THEIR TRADE TO AFRICA, WHERE THEY ARE STILL USED BY MANY TRIBES WITH DIFFERENT PURPOSES. THE ART OF GLASS BEADMAKING COULD NOW BE ADDED TO THE UNESCO LIST OF INTANGIBLE CULTURAL HERITAGE. In 1352 the Moroccan traveller Ibn Battuta, left his native Tangiers and set out to the Kingdom of Mali. In his descriptions of the country and people’s customs, Battuta wrote: “in this country travelers do not carry provisions with them,and not even ducats or drachmas. They bring salt pieces, glass ornaments or custom jewelry that people call nazhms (strings of glass beads) and some spices”. Venetian glass beads production is rooted in very ancient traditions and harks back to the Roman and Byzantine handcraft. Recently UNESCO approved the dossier compiled by Italy and France for this art to be recognised as part of Humanity’s Intangible Heritage. Thanks to the Golden Bull granted to Venetian merchants by the basileus of Constantinople in 1082, Venice expanded the trade with the Southern Mediterranean basin. In the XV century, after the fall of Constantinople conquered by Ottoman Turks in 1453, and above all thanks to the discovery of the New World, trade routes changed dramatically. The Gulf of Guinea became the new commercial pole where Portuguese, Spanish, Dutch and English ships unloaded their goods for trading. Among these goods, Venetian glass beads were used as coins, with their “magic” beauty, handiness and resistance.
    [Show full text]
  • Hot Glass -- Section B
    Call Toll-Free Section B 1-800-828-7159 HOT GLASS KILNS FUSING AND HOT GLASS H Kilns And Supplies You Will Need O Glass fusing continues to be the hottest interest for stained glass enthusiasts. From creating unique jewelry, to slumping bowls or vases, fusing is a fun and exciting aspect to glass working. T This section has kilns by Evenheat, Fireworks beadmaking equipment, Reusche and Fusemaster glass paints and brushes, COE 90 Tested Compatible glass, CBS Dichroic glass, System 96 materials, slumping and draping molds by Creative Paradise and Colour De Verre and MORE! Check throughout the catalog for related supplies such as jewelry findings, band saws and ring saws, and other items that make hot glass easier and more exciting. G EVENHEAT KILNS Evenheat Kilns have a worldwide reputation for solid construction, reliability and long life. All are L made in the USA, and come with instructions and service manuals. Kiln shelves are NOT included. A The line runs from their Rapid Fire table top kiln for small projects to their top loaders and the heavy duty digitally controlled front loading kilns. Table Top Kilns S Evenheat has produced four compact, easy to use kilns. All operate on standard 120 volt circuits, so no special wiring is S required. STUDIO 8 KILN – Like its tough little brother the Hot Box, the Studio 8 is quite STUDIO PRO KILN – has the same size and heating features as the Studio 8 above capable of all glass related firings up to 1800°F. It also has the speed and power but with an easier Dual Access Design.
    [Show full text]
  • Leah Fairbanks Leah Fairbanks Is a Well Known Contemporary Glass Artist Recognized for Her Distinct Floral Handmade Glass Beads
    Leah Fairbanks Leah Fairbanks is a well known contemporary glass artist recognized for her distinct floral handmade glass beads. She attended the Academy Of Art in San Francisco where she explored many medium with her main focus on printmaking and fashion Design. Leah began her glass career in 1983 specializing in large commission pieces. She explored and pushed the limits of the medium creating stained glass windows, neon sculptures, fused glass plates, bowls and jewelry. Leah’s first lampworked class in 1992 guided the course of her path into the realm of hot glass. Leah was intimately involved in the resurgence of professional flameworked glass beadmaking in America during the 1990’s. Leah’s exploration in garden motifs directly influenced and impacted the early movement of floral decoration in contemporary beadmaking. Leah provided direction in this art form in it’s formative stage in her role as Secretary/Treasurer from 1994 to 1995. Articles about her works have been in numerous books and publications: LAMMAGA Magazine, Ornament Magazine, Bead And Button Magazine, Lapidary Journal, Masters: Glass Beads By Lark Books, Making Glass Beads & Beads Of Glass by Cindy Jenkins, 1000 Glass beads: Innovation & Imagination In Contemporary Glass Beadmaking, Lark Books, Contemporary Lampworking: A Practical Guide to Shaping Glass in the Flame and Formed of Fire, by Bandhu S. Dunham. As an accomplished instructor, Leah has taught beginning to advanced glass beadmaking workshops nationwide since 1994. She has taught classes throughout the United States and abroad which include Canada, Japan, Ireland, France, Australia, Denmark, Holland and Italy. Leah has the honor of being exhibited in The Corning Museum Of Glass Permanent Collection, Corning N.Y., The Contemporary Glass Collection: The Bead Museum Permanent Collection, Washington D.C., The KOBE Lampwork Museum and many more private collections throughout the world.
    [Show full text]
  • Pdf Download
    nA1Pfn fifeF~!I'\T I .' un t' Ii; I·'lt;~~ The journal of the Center for Bead Research Volume 13, Number! Issue 29 2000 ' ~~ ~ARGARETOlO~ ~ The Beads of Bohemia Timeline - Bohemian Beads: Outside Influences, Technology Export and Bead Types Outside Bohemia Within Bohemia Bohemian beads 1359 glasshouse in Vim perk, S. Bohemia 1376 Sklanai'ice (glassmaking village) 1490 Venice making drawn beads 1548 glasshouse at Mseno (Jablonec) 1650 "Roman pearls" in Paris by 1680 red composition by 1680 molded, 1737 glass cutters in Jablonec faceted garnet 1750 lampworking in imitations . Venice 1764174 "mandrel" tong molds 1789 Klaproth 1782 First Czech seed beads discovers uranium 1800 Atlas (satin) 1810 blown glass glass with cut beads in 'Lauscha corners 1815·1866 Bohemia 1820 Anna (uranium) yellow and green 1820 "Vaseline" and Venice united beads;" hexagonal under Austria ~. blues with cut 1840 Prosser corners machine 1841 Altmuller records lampworking 1841 Venetian 1845 blown glass beads in Bohemia rocailles faceted as 1850 silver-lining at charlottes Lauscha ' 18505·1900 beads imitating materials, 1856 irising invented 18561ustering invented objects, exotic in Hungary late 1800s Sample Men gather exotic beads, Venetian 1864 Bapterosses beads to send home for copying beads; beads for makes "Prosser" 1866 outselling Venice the Muslim market beads in France 1876 Multiple mold for blown beads and others 1883 Riedl patents internal grooving for blown beads 1884 tong molds with straight holes 1887 Reidl improves drawing, tumbling of 1897 Well-made seed seed beads; rocia/les beads 1890 Redlhammers making "Prosser 1895 Swarovski to beads" Austria early 1900s snake, 1900? Blown beads interlocking beads made in Japan 1900 Art Nouveau 1941 lampwinding and art beads taught in India: 19205 "Tut" beads 1945 Germans 1945 Beadmaking goes into decline expelled 1970? India making blown beads 1992 Velvet revolution; revival The MARGARETOLOOIST is published twice a year with the most current information on bead research, primarily our own.
    [Show full text]
  • 10Th Annual Gallery of Women in Glass 6 Featuring the Work of 123 Female Flameworking Artists
    Winter 2014 10th Annual A glass journal for the flameworking community Gallery of Women in Glass Kathryn Guler Tutorials by Penny Dickinson Gina Gaffner $9.00 U.S. $10.00 Canada Vol 12 Number 4 Maureen Henriques Deborah Read Lisa St. Martin Elise Strauss Publisher ~ Maureen James Editor ~ Jennifer Menzies Dear Readers, Founding Editor ~ Wil Menzies We are thrilled to bring you the latest Women in Glass Copy Editor ~ Darlene Welch issue of The Flow. This 10th annual showcase of the work Accounting ~ Rhonda Sewell of over 120 female flameworking artists reminds us just how Circulation Manager ~ Kathy Gentry imaginative we ladies can be when it comes to expressing ourselves in glass. You’ll also find six terrific tutorials for Advertising ~ Maureen James soft and boro projects that include dichroic coated copper Graphic Artists ~ Dave Burnett foil and silver glass encased floral beads, tips for creating Mark Waterbury simple faces, and painted focal beads. Add the Glasscaster Contributing Artists and Writers interview with flameworking maven, Liz Mears, plus the Christine Ahern, Marcie Davis profile on the latest adventures of artist Laurie Young, and Penny Dickinson, Gina Gaffner we think you’ll agree that this one great issue. Maureen Henriques, Jennifer Menzies All of us at The Flow want to thank you, our readers, for your continued support Deborah Read, Lisa St. Martin over the past year. We count it a privilege to bring you this enduring resource to Elise Strauss, Laurie Young help make your glass art better than ever. In a world where many people think that Darlene Welch digital media has surpassed the printed word, it’s interesting to note that magazine ISSN 74470-28780 is published quarterly readership in general has actually risen over the past five years.
    [Show full text]
  • Additional Resources—General Studio Safety
    ADDITIONAL RESOURCES—GENERAL STUDIO SAFETY Books and Journals American Scientific Glassblowers Society. Methods and materials. [Toledo, OH]: American Scientific Glassblowers Society, [1995]. 1 v. Note: Materials, methods, safety hazards. Bray, Charles. Ceramics and glass: a basic technology. Sheffield, England: Society of Glass Technology, 2000. 276 p. Note: "Written for students, potters and glassmakers working individually or in small studios." Excellent source for basic chemistry of glass; also information about raw materials, kilns, refractory and insulating materials, adhesives, color, etc. Chapter on safety, pp. 233-237. Bray, Charles. Dictionary of glass: materials and techniques. 2nd ed. London: A & C Black; Philadelphia: University of Pennsylvania Press, 2001. 256 p., [16] p. of plates. Background information on materials, process, and techniques. Includes a section on safety, pp. 204-206, plus entries for silicosis, pneumoconiosis, acids, as well as many other safety related topics. Cheremisinoff, Paul N. A guide to safe material and chemical handling. Cheremisinoff, Paul N.; Hoboken, N.J : Wiley, 2010. 480 pp. Clark, Nancy. Ventilation. By Nancy Clark, Thomas Cutter, and Jean-Ann McGrane. New York: Lyons & Burford, [n.d., 1986?] viii, 117 p. Note: Originally published: New York: Center for Occupational Hazards, 1984. Dunham, Bandhu Scott. Contemporary Lampworking: A Practical Guide to Shaping Glass in the Flame. 3rd ed. Prescott, AZ: Salusa Glassworks, 2002. Includes artistic and technical information and a good resource list. "Setting up a lampwork studio," pp. 57-80; "Teaching studio recommendations," pp. 465-468; "Health and safety for lampworkers," p. 229-244; "Chemical hazards," p. 481-486. http://www.salusaglassworks.com/book.html Dunham, Bandhu Scott.
    [Show full text]